ICADECS International Conference on Art, Design, Education and Cultural Studies Volume 2020 Conference Paper Topeng Patih Dance: A Manifestation of the Beginning of Human Life in the Malang Mask Puppet’s World Soerjo Wido Minarto and Kelik Desta Rahmanto Study Program of Dance and Music Education, Faculty of Letters, Universitas Negeri Malang, Malang, Indonesia Abstract The focus of the study in this research was the Patih Mask dance in the Malang Masked Puppet performance as the opening dance. This dance has a close relationship with space, time, and content in the structure of the show. The purpose of this study is to examine the expression of aesthetic concepts through the structure of artistic symbols in the performance of Malang Masked Puppet. This research used ethnographic methods by emphasizing structural and hermeneutic theories. The aesthetic symbols that are reflected in the unity of the show consist of the ritual concept, characterization, Corresponding Author: communication, dance moves, make-up and fashion, accompaniment music, and Soerjo Wido Minarto elements of the stage which all lead to a noble behavior. The whole unity of the [email protected] elements is a symbol of ”Sangkan Paran”. Received: Month 2020 Keywords: Symbols, beginning, Sangkan Paran, Patih Mask, Malang Mask Puppet Accepted: Month 2020 Published: Month 2020 Publishing services provided by Knowledge E Soerjo Wido Minarto and 1. Introduction Kelik Desta Rahmanto. This article is distributed under the The Malang Puppet Mask Dramatari is believed to be the remnants of the noble heritage terms of the Creative Commons Attribution License, which of the great kingdoms in Malang. The peak of Dramatari Puppet Mask’s popularity was permits unrestricted use and during the heyday of the great kingdom in the archipelago, namely the Kingdom of redistribution provided that the original author and source are Majapahit (Th. Pigeaud, 1960-1963: 52). The people of Malang, especially in rural areas credited. who support the existence of the Puppet Dramatari Mask still believe in the function Selection and Peer-review under and meaning of the symbols conveyed through a single performance. These are due the responsibility of the to the fact that the people of Malang (especially in rural areas) are traditional agrarian ICADECS Conference Committee. societies. They still believe in fertility rituals that function for the welfare of life for the community. Such as selamatan nyadran, bersih desa, ruwatan, sedekah bumi and so on (Kodiran, 2002: 347-348). The reality on the ground today is very alarming, because Malang Puppet Mask performances are increasingly eroded by modern art. Along with the times, now the way to enjoy the type of dance that emphasizes the sensuality of erotica (stimulating How to cite this article: Soerjo Wido Minarto and Kelik Desta Rahmanto, (2020), “Topeng Patih Dance: A Manifestation of the Beginning of Human Life in the Malang Mask Puppet’s World” in International Conference on Art, Design, Education and Cultural Studies, KnE Social Sciences, pages Page 456 456–469. DOI 10.18502/kss.v4i12.7619 ICADECS sexual arousal), both from male and female dancers, is increasing, both the motion of clothing that shows aurot such as the navel, some breasts, thighs, back (from the shoulders back to the back almost slightly above the rectum). Moreover, it was very easy to get the appearance of Seronok, just from the glass screen in the room. As a result, it directly Affects the viewers, especially young people who have found it very difficult to appreciate traditional dances that are full of values. Such conditions directly influence the speed of development (read: change) of culture, as well as the shift in cultural values, including changes in character. What is used to be considered good, right, moral norms, now no longer, even vice versa what is used to be considered taboo, wrong, a-immoral, is now considered normal, even among youth / adolescents even considered to be a trend, slang, forward, in other words it is good and right. The impact is the culture of shame, good manners, andhap asor, tepa selira, almost lost, replaced with a culture of brave, male, like me, individual (greeting sira sings sings) and so on. This phenomenon greatly affects the taste of art (Suhardjo, 2006: 2 - 6). Based on the empirical conditions and assumptions as mentioned above, this study seeks to reveal in depth the structure and meaning of symbols believed by the support- ing community, as an effort to revitalize traditional performances owned by the people of Malang. 2. Method This study aims to: (1) Describe the aesthetic concept through the artistic structure of the Patih Mask Dance in Malang Mask Puppet performance. (2) Describe the aesthetic symbol of the Patih Mask Dance in the Malang Mask Puppet performance. This research is intended to examine in depth the phenomenon of the performing arts that are related to the ideology of the supporting community. Data collected in the field are holistic including: Patih Mask dance movements specifically and dance moves in Malang Puppet Mask as a whole, learn kinds of rituals that are directly related to Malang Puppet Mask life, the connection of dalang’s vocal / song with gending, accompaniment music and atmosphere dramatic, as well as philosophical meaning which is an integral part of Malang Wayang Mask Puppet life. This study uses a qualitative paradigm, because it emphasizes meaning and con- text, flexible research designs. Data collection and analysis take place simultaneously (Miles and Huberman, translation of Tjetjep, 1992). This research is located in the southern part of Malang Regency, covering Kedungmonggo sub-village, Karangpandan village, Pakisaji sub-district, Jatiguwi village, Sumberpucung sub-district, Jambuwer DOI 10.18502/kss.v4i12.7619 Page 457 ICADECS village, Kromengan sub-district and Pijiombo sub-village, Wonosari sub- district, Malang regency. The research subjects chosen in this study are the stakeholders who have credibility in the Malang Mask Puppet performance. Data sources in the form of words, actions and visual form. The data collection strategy was carried out by means of participatory observation, in-depth interviews and documentation techniques in the form of literature study, document review. Checking the validity of the data is carried out based on 4 criteria, namely credibility, transferability, dependability, and confirma- bility (Moleong, 1990). Data collection techniques used ethnographic methods, and the analysis used a structuralism, hermeneutic approach by focusing on the symbolic structure concept of the Patih Mask dance inside the unity of Malang Mask Puppet. 3. Literature Study Some of the results of previous studies that were examined as the initial foothold include, the oldest writing about the Puppet Mask Malang is Pigeaud (1938) titled: Javaanse Volksvertoningen. This book is about folk performances in Java around the first quarter of the XX century. One of them is Malang Puppet Mask. It was said that at that time Regent Raden Soerjo required all Regency employees to be able to do Mask dancing. Puppet Mask as an official district art that is always displayed in the Regency of Pendapa. R.M. Soedarsono examined the Wayang Wong Drama from the State Ritual Dance at the Yogyakarta Palace (Soedarsono, 1997), the contents of Wayang Wong as a means of state ritual were a revival of the drama of Majapahit mask dance. The results of the study, Robby Hidayat, ”Malang Wayang Kedungmonggo Mask Perform Transformation from Ritual to Performing Arts” (Dissertation of ISI Yogyakarta, 2017); it contains the process of transferring the function of a puppet mask from ritual to performance art. Sumaryono’s dissertation on, ”The Role of the Puppeteer in the Life and Development of the Yogyakarta Puppet Mask” This study focuses on the position and role of the Puppeteer as a buffer for the life of the Puppet Mask of Yogyakarta. Blood relation or breed is an important factor in the existence of dalang (Sumaryono, 2012). Sal Murgiyanto and AM. Munardi, (1980) Malang Puppet Mask wrote an informative book, but it was quite useful as a foothold to see the distribution of Puppet Mask in Malang Regency. DOI 10.18502/kss.v4i12.7619 Page 458 ICADECS 4. Discussion Gěndhing-gěndhing without vocals is commonly called giro is a sign of the start of the Wayang Topeng performance. The gendhing or songs featured in the giro has at least four gěndhing or songs, namely gendhing Eling-eling, Krangean / Sapujagad, Loro-loro and ending with gěndhing Gondhel. These giros are an obligation that must be carried out by climbers or pengrawit. Because the giro serves to invite the audience, then the song or song that is sounded is a sign or symbol that contains hope. For example gending Eling-eling (meaning remembering), is a symbol of hope so that people do not forget that today in this place there is a puppet mask show. During the daytime performances, one of the giro that was sounded was the Gagak Ngarak. Even this gending is a symbol of hope, so that the guests who come in a mess, the guests who come to the pilgrimage place are very much like a carnival (Madyoutomo: interview 12 October 2006). Meanwhile, in the preparation room or dressing room which is often called a group or krombongan, since the first gending is sounded, the puppeteer performs rituals with offering equipment (offerings). Fill the offerings in the form of rice with side dishes, gědhang sětangkěp (two banana combs), chicken eggs, black sticky rice tape, snack market (typical cakes in the Java market), a coconut and its shell, tobacco, klobot cigarettes (cigarettes made from tobacco made from tobacco wrapped in corn husk), kendhi (moci made from pottery) filled with water and a Chinese incense (yuswa / hio), and all the masks to be played were arranged on the table (Hidayat, 2004: 182-184).